Analytic post-modern dancers believe that dance can be done for the purpose of the dance itself and the movement itself. Dances are made to create a structure within which movement can be seen for its own sake. Post-modern dance often embodies different perspectives on space, time, or orientation. It often includes the use of repetition, improvisation, chance, and actual time. Analytic post-modern dance rejects musicality and meaning, and it uses costume, lighting, and objects for their functions. In these dances, life is often the subject of the art. Also, the dancers can be choreographers as well. Post-modernists dance for the pleasure of the dancer. Thus, it does not matter if the audience does not particularly like the piece. Analytic post-modern dance can create a new way of looking at dance for the audience.
Steve Paxton used the ideas of analytic post-modern dance in his contact improvisation style. This style of dance uses two bodies moving with each other and in physical contact with each other. This form of dance also has to do with these dancers’ relationship to the physical laws that surround them, such as gravity. Contact improvisation displays the importance of movement and chance just like analytic post-modern dance. These dancers must work with their partner in order to continue the flow of the dance without stopping or losing contact. Steve Paxton’s dance, like post-modern ideas, focuses on movement, spontaneity, and the exploration of the body. Like other dancers in the analytic post-modern dance movement, Paxton provided the audience with a new idea of what dance can be defined as.
Lisa eloquently stated the definition of analytic post-modern dance. Analytic post-modern dance is done purely for aesthetics rather than entertainment. The style focuses on natural body movements to help convey life. The dance is not confined to the musical composition and therefore, the dancers and their movements take center stage in the pieces. In Banes reading, the enjoyment of these dances comes from learning the techniques that are used in the structure of the dance such as: the use of space, time, improvisation, juxtaposition, and chance, making this dance style a dance for the intelligentsia.
Trisha Brown’s dances exhibited characteristics that are similar to this analytic post-modern dance movement. In “Glacial Decoy”, the use of Rauschenberg’s costumes and set instead of music is stated in Lisa’s definition of analytic post-modern dance. The focus of the dance is the dancers and their movements, whether individually or collectively synchronized. The “solo olos” exhibits a mathematical structure to dance. This again goes back to analytic post-modern characteristic of the audience being more familiar with the components of dance. Trisha Brown helps display many key components of the analytic post-modern dance in her pieces